Episode 609. Well-Intentioned Director’s Guide

Director Nate Cohen is in his second year of Northwestern University’s MFA Directing program and recently created a cheeky — and slightly tongue-in-cheek — flowchart entitled “Should I Direct This Play (A Guide for Well-Intentioned Cis Het White Men).” Nate posted the chart on Facebook and tagged, among other people, American Theatre magazine, which retweeted it and prompted much national discussion and a little bit of blowback. Nate discusses his own intentions and the issue of taking up space; the dangers of getting stuck in an irony loop; the cautionary tale of Robert LePage; the fact of walking like a (straight white) man; the reason it’s a guide, not a rulebook; vital interactions with Lauren Gunderson; the potential danger of artist-splaining; a grateful shout-out to the Hawkins Family (and this live concert recording in particular); the importance of thinking through things critically and not being a dick; and ultimately, the valuable question of how do we do better? (Length 27:46)

Episode 606. Composer Michael Roth

Composer and arranger Michael Roth has had a big summer, scoring not only the Shakespeare Center of Los Angeles production of Henry IV starring Tom Hanks, and Pamplona, the one-man play about Ernest Hemingway, starring Stacy Keach, currently having its world premiere production at the Goodman Theatre in Chicago. Michael has worked with such notable theatre artists as directors Robert Falls, Des McAnuff, and Daniel Sullivan, actors Christopher Plummer and Brian Dennehy, and songwriter Randy Newman, and he joins us to talk about with working with all these artists in a variety of media. Featuring the importance of first rehearsals, making sure Shakespeare’s songs are not perfunctory; small worlds; the challenges of writing a musical; and Shakespeare’s weird ability to be early-modern and post-modern at the same time. (Length 22:21)

Episode 605. The Actors Gymnasium

Sylvia Hernandez-DiStasi is the artistic director and co-founder of The Actors Gymnasium, a physical theatre school with a huge emphasis on circus and telling stories through movement. A longtime collaborator with Chicago’s Tony-winning Lookingglass Theatre, Sylvia created the underwater choreography for Lookingglass’ current production of 20,000 Leagues Under The Sea and talks about how she creates her work and the value of her collaborators, the invaluable nature of literally growing up in the circus, questioning the value of not taking a risk, learning the language of physicality, getting actors to a different level, and the joy of watching a performer discover new skills and manners of expression. (Length 19:20)

Episode 597. Lady Macbeth Herself

Chaon Cross plays Lady Macbeth in the exciting and literally magical production of the Scottish play directed by Aaron Posner and Teller in the current production at the Chicago Shakespeare Theatre, and discusses the challenges of finding the balance between the textual and theatrical and between character and razzmatazz; the difficulties of acting while performing magic; the art of creating a useful backstory; the pitfalls of human desires: the glory of creating a world; the relative usefulness of politics; and the surprising delight of speaking with Lady She-Who-Must-Not-Be-Named. (Length 21:16)

Episode 594. ‘Caged’ World Premiere

We’ve talked on this podcast about theatre and Shakespeare in prisons, but we’ve never heard about theatre created by the incarcerated or formerly incarcerated outside prisons. Director and teaching artist Jerrell L. Henderson directs the world premiere of Caged at Passage Theatre in New Jersey, and discusses the challenge of finding the narrative, radical love, predatory systems, the trick of navigating the demands of thirty living playwrights, mourning alone, and how to avoid the dangers of directorial slather and getting art on you. (Length 18:52)

Episode 589. Chicago’s Northlight Theatre

Artistic Director BJ Jones (left) talks about Northlight Theatre, the fourth largest theatre in the Chicagoland area and producer of an extraordinary body of new work. BJ discusses the importance of understanding one’s audience while raving (positively!) about student matinees, commissioning new work, remembering John Mahoney, challenging the current generation while training the next generation of theatergoers and theatre makers, and, most importantly, encouraging compassion and improving one’s perspective through theatre and art. (Length 17:07)

Episode 586. Reduced Show Report

During our two-week run of William Shakespeare’s Long Lost First Play (abridged) at the New Victory Theatre in New York City we had the opportunity to see many fantastic shows, both on and off-Broadway, and between our final two performances we chatted about what we saw, what we liked, what we were disappointed in, what surprised us, what challenged us, and what completely blew us away. Featuring thoughts, opinions, critiques, and appreciations of Lobby Hero, School of Rock, Farinelli and the King, In & Of Itself, Chicago, A Bronx Tale, The Low Road, SpongeBob Squarepants, Three Tall Women, John Lithgow, Hamilton, and The Band’s Visit — plus tales of personal John Lithgow connections, out-of-the-ordinary shows, accidental benefits of snow days, excellent direction and not-so excellent direction, and wonderful moments of deeply moving exquisite joy. (Length 27:12)

Episode 570. Book Of Will

Director Jessica Thebus (Richard III, In The Garden: A Darwinian Love Story) returns to the podcast to talk about the midwest premiere of Lauren Gunderson’s The Book of Will, which she’s directing at the Northlight Theatre in Chicago. Jessica talks about her approach to this play, and from where she draws her certainties and insights. Featuring surprisingly little historical fudging, labors of love, illuminating paths, avoiding traps, staying ahead of the audience, and celebrating the creation of a thing that might easily never have happened. (Length 17:51) (l-r, Richard Burbage (Austin Tichenor), Alice Heminges (Dana Black), John Heminges (Jim Ortlieb), and Henry Condell (Gregory Linington) from the Northlight Theatre production of Lauren Gunderson’s The Book of Will. Photo by Liz Lauren.)

Episode 556. Abridged Too Far?

“We premiered our one-hour version of William Shakespeare’s Long Lost First Play (abridged) at the Edinburgh Festival Fringe last week, and RSC UK cast members Joseph Maudsley, Matt Pearson, and James Percy discuss the ups and downs of further reduction. Featuring problems with pacing, riding over slumps, totally different experiences, 30-year anniversaries, Read more…

Episode 552. Director Christopher Edwards

Christoper V. Edwards is directing this summer’s non-RSC production of William Shakespeare’s Long Lost First Play (abridged) at the Utah Shakespeare Festival, and he talks to us about how he got the job and how rehearsals are going (it opens July 29). He also talks about his new gig as Artistic Director of the Actors Shakespeare Project in Boston, and how he interprets LongLostShakes, doubling and tripling actors, the differences between LongLostShakes and The Complete Works…, mutual friends The Q Brothers, playing with language, shout-outs to Boston, opportunities to have conversations with Shakespeare, and, most importantly, the significant ways in which William Shakespeare is a rabid squirrel. (Length 25:16)

Episode 545. Prague Shakespeare Company

Guy Roberts, the artistic director of Prague Shakespeare Company, talks about how the company was founded and how Shakespeare is bringing nations and peoples together. Featuring important Spinal Tap influences, the challenge of completing the canon, comparisons between LongLostShakes and The Complete Works…, revelations about the so-called “coast of Bohemia”, an excerpt from the Reduced Shakespeare Radio Show, echoes of Much Ado About Nothing, and the value of making people laugh. Recorded live at the Shakespeare Theatre Association. (Length 15:30) 

Episode 532. Shakespeare & Trump

How should / would / will William Shakespeare respond to a character like President Trump? We talk with Shakespeare artists and administrators Kate Powers, Amy Wratchford, Mya Gosling, and Mac MacDaniel about productions they’d like to see during the next four years that can shed some light on the current administration. Featuring the value of leaning in and telling truth to power, cruel things to do to Midsummer’s Snout, finding surprising resonance in unexpected places, and most excellent suggestions of Richard III, Richard II, King Lear, Hamlet, Coriolanus, and…hang on a bit…King John?! Recorded live at the Shakespeare Theatre Association conference at Chesapeake Shakespeare Company in Baltimore, Maryland. UPDATE: New York’s Public Theatre at the Delacorte in Central Park took this to a whole ‘nother level in June 2017, with its production of Julius Caesar in which the Roman leader is costumed to look exactly like Donald Trump. (Length 15:02)

Episode 502. Directing Richard III

Jessica Thebus directed Richard III for Chicago’s Gift Theatre in the spring of 2016, an amazing production that starred Michael Patrick Thornton (right) in the title role. Jessica talks about the impetus for directing this famously challenging play and reveals where the drama gets most focused, the secrets to fantastic fight choreography, comparisons Read more…